Transcripts
1. Hello & Welcome! : Pine trees are one of the most beautiful creatures on the planet. There are more than 120 different species of pine trees, and they can be seen as a small tree which is just one meter high, and it can even go up to a height of 75 meters. One day, I would love to stand in front of such a huge tall tree and simply admire the beauty of it. Hello everyone, my Susanna and appeal. I'm an artist and mother and an art educator. I pick, my intro was pretty straight. Euro already guessed, where does this class all about? Yes, you guessed it right? This class is all about how to draw the front kind of pine trees and how to incorporate that in your paintings. Pine tree is an incredibly beautiful tree. Every season. It has a different and unique identity. Can you imagine windows without pine trees? Just like how they meet every season. So pretty there a wonderful element to add an artworks to. So depending on the style that you want to follow, drawing pine tree can be very simple as well as very difficult. In this class, I'm going to take you through a series of exercises where we will be learning how to draw different kind of pine tree starting from the basics. This would be a great course for anyone who's starting out. I will be taking you through the art supplies you will lead in detail. I will also be shown you how to incorporate these trees in your paintings. Once we get thorough, but the exercise of drawing different kind of pine trees will be moving on to our class protects. I will be teaching you how to do these two spectacular paintings where we will be capturing the enter your beauty of a binary. The anterior classes short-run realtime, giving a great importance to every minute detail. Don't worry if you are a beginner, I will be taking you through every little detail which makes it easy for everyone to follow. There are so many different ways to draw a pine tree with this class, my indention us not to impose a particular style on you. I want you to get comfortable with the process and slowly tell a promotion which is unique to yourself. So join me now and let's spend some creative time to get them.
2. Materials you'll need: Let us quickly have a look at the materials we will leave. We'll start with the people. For today's class. I will be using my Canson heritage cold press watercolor paper for the practice piece where we will be learning how to do 12 different pine trees. And also for the two class predicts, I will be using the same people. This people prior to solve Tunis expired 36 and a meter. I have cut the people into two and that the size I will be using. Feel free to go with any kind of size that you prefer for your paintings. So that means the size of each paper I will be working on will be 18 by 26 centimeter, which is the half of those people. But now let's have a look at the spatial part and a little more detail. This one is from the brand cancel. And the fetus is called Heritage. This is one for DLB people, which is a 100% cotton and it is a cold press people to get the best results. As I always mentioned, we'll go with a 100% cotton watercolor people, which is of minimum 140 LB. You can see the kind of texture might people has caught on, right? So that's all about the people. Feel free to go with any of your favorite plant. You don't need to stick to cancel. If you like. Arches are Fabriano, that is totally up to you. The brand is totally your choice. And for the exercise, it is not really required to go with a 100% cartoon artist grade paper, as it is just a sketching exercise and there was no watercolor washes in bond. So you can use any of the normal people. You can even use your a full copy people, the ones who use for printing anything as fine. You don't need to waste your good expending artist grade quality people for this exercise. So just grab any kind of paper or a sketchbook, whatever works best for you. Let's have a look at the brushes you will need. I will be using just two brushes for this entire class. One is a flat brush and the other one has a small size round brush. This nano-sized number four syllable black velvet brush. You can go with any of your medium or small sized around crush. Meaning a brush which has a nice pointed tip to draw those pine trees. This one is a wonderful brush. It comes to a very nice point at tip when dipped in water, which makes it perfect for dealing. Now as I mentioned earlier, the next phone as a flood Trish. This one is to apply those even washes, especially for the sky. Ignore my MSE brush. You can see the condition. I have used it quite a lot. This is one of my favorite brush, which I use quite a lot for all those watercolor washes. This one is three by four. It's from Princeton. Alright, so those are the only two brushes you will need. Now let's have a look at the colors. Will be working with a very limited color palette. We'll just need three sheets. The colors I will be using for this class is from the brand PWC. It's a Korean brand. And these are the three sheets we will need along. The dad will also be needing a whitewash pin. This one is from Ryle talent. Now please don't stress out if you don't have a whitewash, it is okay to use your white watercolor instead of white quash. Your watercolor 1B as opaque as squash, but at us, okay, we just need to work in a thicker consistency to make it look. So we'll be using black quite a lot throughout the class for the pine tree exercise for this guy and add all those pine trees in your painting. We'll be using Blackwater Googler. Now the next sheet we'll need as yellow discipline as indenting alone. You can use either gambled yellow or yellow ochre. We need a warm yellow. And the next one to add all those deeper tones will be using bonds Sina. So those are the three sheets will be needing for our painting. This is for the first painting, and for the second one we'll just need black watercolor. Feel free to go with the normal watercolor brand to use. You can use either tube to watercolor or paint watercolor. I think given your student watercolor, we'll be OK. As you're working with a very limited color palette and there is no much techniques involved to paint the sky for both the class predicts, along with black watercolor, I will be using vide quash, Bindu, agrarian bush of black watercolor, just using water. And we'll do a gradient force using black and white guage and will see the difference. So here, making the color lightened by adding water. So we have a talk could tune on the left end and as I'm progressing towards the right, are used to clean water and we the color lighter. Now, I'm gonna do the same thing. Instead of water. I'm gonna use white quash and you'll see the difference of border colors fatuous. I'm starting with black watercolor. Now, I'm gonna switch to whitewash. And I'm going to apply that closer to the black. And I'm going to turn that into a 3D. And Bosch, you could see the difference clearly from the one about, the one about was looking very transparent as we used water to make the color into a lighter one. And on the second one, as we used to buy guage, It is looking more opaque and the color is looking more bold and vibrate. Now this is a reason why I'm using a white choir for my sky. It's like the first option. You could use plain water to make the color lighter. For water projects, I will be using black, watercolor and whitewashed appear in the sky. Okay, so that is all about the colors and how to mix colors. You will need a mixing palette. This one is a ceramic solving dish. I use adapt my palate. It has three different wells, which is quite big and it's perfect for mixing colors when you need a larger quantity. Ok, so any pilot will work perfectly as they're working with a very limited color palette. You can use your normal plastic palette or ceramic palette, or even a denote lead to evoke perfectly. So we discussed about the colors, the brushes, and the people. Now the next thing you will need as a pencil and eraser. We'll need to add a sketch of the tent. That is the only sketch will be doing throughout this class. Last but not least, you will lead a masking tape to mask the four sides of your people to get a clean Bordeaux. This one is a very basic masking tape and does not any artist tape or Pinto steep. I'd got it from a stationary shop. Go with any masking tape you normally use, but make sure you have fixed it properly. And finally, you will need a jar of water. Alright, that's all about the materials you will need to follow this class. Now go grab all the materials and join me in the next section. Let's start with our first exercise.
3. Pine trees - Part 1: So here are the two different pine trees we'll be exploring in this section. We'll start with some basic trees, then we'll keep on improvising the theme. All of the queens will be learning in this section has some unique identity and you can use them in your paintings to create different effects. Okay, without anymore waiting, let's start with the first one. I have a piece of people here. You're only to waste your artist grade watercolor paper. You can use your sketch pre-core. Any normal people would work perfect for this exercise. And here is a brush I will be using for this exercise. This is size number four, silver black weathered brush. You can see my approach has a nice pointed tip which makes it perfect for drawing these binaries. So go with any branch which has a nice pointed tip. This is one of my most favorite trash or use it quite a lot. It works perfect for detailing and also for painting smaller areas. So whenever I buy a new brush, whether it's a medium-sized or a big sized approach. The first thing I check us whether the brushes calling back to a nice point when dipped in water. Because if your brushes and ice pointed to, you don't need to keep switching from brush to brush. You can use the same brush for multiple things in a way that is the only brush I will be using in this section. And the shade, I'll be using a speech black. This one is from BWC. You're going use ivory black, lamp black or any other readership black which have card. Or you can use beans Green. All right, let's start with the first foreign. I'm loading my brush with the black watercolor. So I'm gonna start by adding a line, which is the tree trunk. But you'd have appointed to sew your line should be thin and delicate on the top. And as you come down your line can be a little thicker. So that is the tree trunk. Now on the top, we'll be going with very fine and thin detailing. So right on that tip, all you need to add this teeny tiny lines on either side. These are very thin and delicate lines. As you come down. Your lines can be thicker and more wider. You can see the kind of lines I have on the top there, too thin and delicate. Now as I'm coming down and making the lines more picker and close to each other. You just need to add those messy line. Don't worry about having those perfect lines. If your lines are more methane, your tree will look more natural. You can see, I'm not going in any particular pattern or some of them are vital. And in between I'm adding some shorter ones. Haskell. This will make your tree look more natural. Also, you can play with different spacing. There'll need to be following any similar interval. Some of them can be close to each other and in between you can add some caps, our CFO. So all these little details will make your tree look more natural. That's the first really, the only thing you need to keep in mind is that on the top you need to have fine details. And as you come down, you can make them close to each other. And make it more tense. Just go with some scribbles on little lines like this. Okay. I hope that is clear. Now let's go with the second one. Again. I'm starting with a tree trunk. I'm adding a straight line for the second one aswell and going with the similar type of tree, but this is going to be more denser. I'm just taking my regression as exact movement and adding those foliage. You can see my lines are more close to each other than the first one. I'm going in a messy way. There is no much gaps in-between. I'm adding them close to each other. Now as I'm coming down, I'm making my lines wider. Just take your brush to either side and a messy Mano. Just go ahead and add these kind of messy lines without any field. Trust me, it's going to look beautiful by the end. It is these imperfect lives which will make it look perfect. So just go ahead with 100% confident. Keep practicing this messy freehand lines. The more you practice, you will have more speed while adding these trees, especially when you're painting something which has a lot of pine trees. If you're too slow or it is going to take ages. If you keep practicing these messy lines in a free hand Mano, You will have a lot of speed and you will be able to finish it over very quickly. Okay. So that's the secondary. It is same as the first one. It is just that they made it more denser, more mercy. For the first one, I went in with lot of gaps in between. And for the second one, I reduce the gaps. And I went in with a much denser tree where I added these lines close to each other. Now let's go with the third one. Again, I'm starting with a tree trunk and writing a straight line, but just thin on the top and as they come down at a stucco. Okay, for the first tool we'll event in that messy lines for this one, we are going with a dotted pattern. You just need to take your brush in a dressing Mano creating these kind of dots and these dots close to each other and create a similar tree. The technique is again the same. On the top, you need to have some fine detailing and as you come down, you can make your dots a little more messy and close to each other to make your tree look more denser, the overall shape of your tree should be a triangular one, something like this. So you have your tree trunk and you're adding your foliage on to either side. So by the end, when you're finishing your tree, it should have a rough triangular shape. So follow this basic control whenever you're adding your trees, most of the binaries will have an overall trend color she, it's only few of them, will have a very wind and messy sheep. Okay, now let's finish off the tree. And again, adding some daughter pattern onto either side. You can see how I'm taking them off to either side. As I come down and making them move wider, I'm digging blue dotted patterns more outside. For the first two trees, I bent in with some messy lines. Now, again here i'm going with some messy dots. As they come down and making them more wider. I'm close to each other. To make the tree look more denser. Keep practicing this brush movement. Once you get a hang of it, it is very easy. All you need to do is take your brush in addressing moment and add dot close to each other and finish off your tree. The best part about drawing a pine tree is that if a lighter, more messy and imperfect tree will look more beautiful and natural, you'd only to go with a symmetrical, perfect detailing. It can be different on either side of the tree. In-between you can go with a wider and denser foliage and in-between you can add some tiny ones. You can play with different species and different density. Now let's go with the fourth one. The fourth one is going to be something similar to the third one. I will be taking my brush in a perceived more men and creating those dark at Baton. I'm starting with a tree trunk, will just again then on the top and thicker at the bottom. Now I'm taking my brush and a presi moment to create the foliage. Started the doors. Tiny dots on the top. Take your brush on to either side. Now, bring it down. Make your darker pattern will Vida. And now for this tree, I'm only concentrating on the top. I'm not going to add foliage over the bottom. Discipline a set tall pine tree where you have foliage only onto top and on the bottom you have bare minimum foliage. Allow how these kind of trees look or how to use them. And many of my paintings, one reason why I loved These are you don't need to fill your tree till the bottom. You can add the street quite quickly compared to the other one where you need to fill the entire tree trunk. Just kidding. Okay. Now over the bottom, I'm adding some little foliage. I'm not going to fill up the entire tree trunk. I'm adding little ones on either side. So you have a nice thick foliage on the top and you have some branches and little foliage over the bottom. So when you're adding pine trees in your painting, if you're going with the third style, you can play with the third and the fourth one, which will make your painting look more natural. You can play with different heights and differently dense trees. Some trees can have less fully on the top and a picker for lead over the boredom. And some of them can have a thicker on the top and very few foliage over the bottom, just like the fourth one. And some of them can be a fully, fully healthy tree. Believe with all sorts of variations possible. So this one here as one of the painting I did earlier with the kind of tree we tried. Now, you can see how I have played with different heights and different kind of foliage. Some of them are taller and some of them are shadow against the how nice that tall tree is looking. So you could use this method and create a gorgeous painting just by altering the height and the density of your tree. Always remember to play with different heights. You can also look at some real photographs just to understand how you want to place the pine trees in your painting. It will also give you an idea of how you can play with different kind of foliage using the same technique, just like how I showed you earlier. You could play with different heights and differently organized for the age. Some of them can be denser at the top and some of them can be denser at the bottom. So all those things can be learned by scrolling through photograph. This is really going to help you in your paintings. At the end of the class or how added a section there, I'm showing you some photograph which can be taken as an inspiration. And you can add your trees and a similar manner in your paintings. So don't forget to check out that section. All rights, all those horrible for different trees. You can see this painting. I have tried a similar tree like this. I went into the more denser fully for this one. You can see that dotted pattern. I went and did a lot of them and added them close to each other to make the tree look more. Denzel, I played with different heights or have a taller one on the right end. And then I have some shorter and medium-sized trees. Now this is another painting where I used the same tree. I've not really happy with the trees, but the overall picture look nice because of the color. Again, I played with different heights. That is what makes your painting look more natural. Now here is another painting there. I tried the first tool trees. So for the first two trees, we just took up a brush and as exact moment onto either side and created some messy line. On the top, we've ended that little foliage. And over the bottom we added some tensile foliage. That was the first tree. And for the second one we've ended with something for lead and created a denser tree. In this painting, I have used both. I have tried a combination of the tree with less foliage, a denser foliage. If you scroll through my Instagram account, you will find more paintings with different kind of pine trees.
4. Pine trees - Part 2: All right, so those were the four trees we tried. Now that's cool with the fifth one. Let me load my brush with black watercolors. No, for the first four, we went in with a wedding BIG sheep, which were all like a messy line. It wasn't very much VT. Now the one i'm going with now is going to be in a little more detail tomorrow. I'm using the same brush, dislike how we started the other ones. I'm starting with a tree trunk. Now this tree is going to be an improvised version of the first three. Audio tree trunk started with a pointed tip and as you come down, you can make your tree trunk a little thicker. When I'm doing the street is very important to have a pressure which has appointed tip. So if your brush doesn't have any good point to get switched to a detailing brush. Okay, that is a tree trunk. Now I'm going to add some lines on either side. And an inclined Mono which is dropping down. The basic thump rule is the same over the top, you need to have some shorter lines. And as you come down, your lines can be Wilder. And by the end, when we finished the tree, we'll have a rough triangular shape, which is a long triangle. You can see how I'm making the lines. Long NCO, I started with a tiny one. And as I'm coming down, my lines are getting longer. Now we're going to concentrate on each of these lines. We're going to pick one by one and we add tiny lines over the bottom. And let me give you a more closer washing. Ok, you can see how I have added those tiny lines. Just follow the line you have added. And keep on adding teeny tiny lines later, which are close to each other, which is your foliage. We'll be repeating the same as we come down. It is just that you align to a remove wider. Now, if you want to make your tree look more density, you can reduce the CAPM between Against the I have left some cap. That is because I want you guys to see the details very properly. So by reducing the gap between these horizontal lines, you can make your tree more denser. Also, you don't need to follow any uniform spacing. Some of them can be spaced close to each other and some of them can be a little far off from the other. And in between you can skip one and just add one but very less foliage. So all these things will create a lot of character to your painting. Rather than going with very uniformly pleased foliage play with different kind of heights and different kind of arrangement. This one is a very easy tree. You just need to concentrate on each and every line. And following that line you have badder. You just need to add teeny tiny lines along the bottom. Now let's go with the next set. Started by adding the line. Make it a little more longer. Now add those teeny tiny lines along the bottom. And that time, now let's do the same on the other side. Start with the line. Now. Add those teeny tiny lines over the bottom. And now I'm going to repeat the same and finish off the tree. As I'm coming down, I will be making my lines more wider. For this particular tree we are drawing now, the beauty lies and the detailing. So do you need to be very slow and composed? Don't rush. Go one by one, pick each line and add these tiny lines over the bottom. If you want, you can switch to a detailing brush and add these teeny tiny lines using that one so that you are aligned to pulpy buddy Chris. And delicate. Adding pine triggers requires a lot of patients, especially when you're painting something which has lot of pine trees. If you're going with some quick ones, you can use the ones above. That doesn't require a lot of time as it is not as detailed as this one. Does that both a tree you can use for your Winder paintings? I don't know for some reason, whenever I draw this tree, it gives me that Christmas wipes. So here I'm going with a perfectly shaped tree. As I mentioned earlier, you can play with different spacing and different kind of arrangement. Play with the foliage. Some media you could go with a very thick and densely packed foliage. Whereas somebody or you could go with bare minimum, these things will make your tree look more interesting. Especially when you're going with a very big tree like this one. If you're going with some smaller size ones, it doesn't really matter. Lions won't be this sharp and gross. You don't need to go and a very detailed manner like we are doing now. But if you're going with a huge tree, you need to really concentrate on those little details which make your tree look more natural and interesting. You can paint the gradients guy with indigo and add burn huge tree like this. And over the top you can add some snow, also against plateaus, some snow along the sky and the tree in a very random manner. And that will make a beautiful winter painting. Okay, I'm nearly done with the tree. I have raised the bottom of the tree trunk. This is the last one I'm going to add. I will add some more lines at the bottom to make the tree look more tensile. Even though this one looks a bit more detail than the early ones, I think this is the ACS to want to do. You just need to concentrate on each and every line. And you need to add those teeny-tiny lines along the bottom. Ok, I hope that was easy-to-follow nor let's go with the next one. Again, I'm starting with a tree trunk which is pointed on the tip. And as I come down and making it the CO. Now this one is going to be a more messy version of the previous one. The previous one looks like it. Cto, new haircut. It is looking very much organized, but this one is going to be a messy one. We're just not at all organized. You can see the way I'm adding the lines. They're not uniformly pleased. Some of the lines are dropping town and some of them are facing up and going. But a very half Assad arrangement. You can see how different the lines of the first one and this one is looking. The first one is very much organized. Everything is very clean and equally spaced. And this one we went in with very randomly placed lines. But the technique of the same bonds, you have added those lines, you just need to add those teeny tiny lines along the bottom. This one can be considered as a log down version of a pine tree, but she didn't get to anytime to get out and get a haircut. So yeah, go with any kind of lines. Some of them can be dropped down, some of them can be facing up. And in between, you can skip some lines, go in any way you want to. Some of the lines can be living longer. It doesn't need to follow that proper triangular shape. Make it as messy SEO can, but you'll make your tree look more beautiful. You can see I'm not following any particular order. So when you're painting something and when you're adding by interests, you can combine the previous version and this version. Some of the trees can have organized Luke and some of them can have a messy look. And also you can combine the previous one and this May 1 be on the top. You can have a more organized look. And over the bottom, it can be a little messy, or it can be the opposite two. On the top, you can have a messy arrangement. And over the bottom, you can go with a very organized foliage, which may look like there were some heavy wind and the top of the tree card are little damage. And the bottom part, which is drunker, remained the same. And this is how we bring in different character to your painting just by altering literal things or dry, Let me add few more lines and finish up the tree. Please don't give up. If you didn't get your trees right on the first try. Keep practicing. And once you get the hang of it, you will be able to create beautiful pine trees. A year back, I was pretty bad at painting pine trees. And for the same reason I always used to call it mountains and set off by entries. Ok. So that's a little pine tree before the uptown and after lockdown. I'm just kidding guys. I know how hard the longterm was. So just take it as fun. Anyway, that is our fifth 10.6.3. You can use both of them in your painting. Some of them can be more organized and some of them can be a little more disorganized. So all those things will bring in a lot of character to your painting. So play with anything and everything possible. You can all do the height. You can alter the way your fully disorganized. You can skip some of the foliage in between. Okay. So that is our fifth, sixth grade. Now let's go with the seventh one. Now, this one is going to be a combination of the one we tried. And the second one. We are going to reduce the spacing between the foliage and you'll be making the tree look more denser compared to the previous bonds. The earlier two tree has nodal spacing in between. For this one, we are going to reduce the spacing are maybe I'll go with 0 spacing so that the tree as very intensely part. I have added the tree trunk, which is again pointed on the tip and a little tick over the bottom. Now I'm adding those lines. And I'm combining those messy lines and those little details lines which we added earlier. I'm adding my lines freezing up earlier are lines we're facing down. So here the lines are facing up. And once I have added this line, I'm adding this teeny tiny lying in between. I'm adding some messy lines as far. So I'm going to combine to make the tree look denser. I'm going with the next line. I'm adding those teeny tiny lines over the top. Adding underlying. You can see I'm walking with 0 spacing between the foliage. Even though I'm following the same technique, you can see how different the tree is looking. Just because we didn't go with any spacing. So just by taking the spacing between the foliage, you can get different look to your pine trees. In the previous tutorials, we went in with a lot of spacing. You can clearly see each and every foliage. This one, we are going with a very thickly packed Mano. I think over the middle, I will add some spacing so that the tree has a different look. I'm adding the line and I'm going to add those teeny tiny lines along the bottom. In between. I will add those teeny-tiny lines along the top line as f2. So again, combine board. You don't need to limit your lateral lines along one side. You can add them along both the sides of the line, just like I'm doing here. You again see the way my tree is taking a shape that is looking so good. So the fifth one, we started with a very organized tree. And for the sixth one, the same tree we modified a little bit and event in that the more disorganized manner. And for the one we're doing now, we are going with a combined motion of the fifth sixth 1. We reduce the spacing in between, and we are adding the foliage close to each other. We've ended at some lines facing up and some lines facing down. And along the bottom and the top line, we added those teeny tiny lines and a DAR, those little alterations, Ricard, a gorgeous tree. I'm going with a little more longer line as we are closer to the tree trunk and adding those messy lines along the bottom and some of them along the top asphalt. Now going with a last set of lines, no campaign, the techniques we used in these three trees, you can experiment a lot of things. You can play with different kind of spacing. You can play with different kind of arrangement for your foliage. Maybe you can look at some real photographs and get a little more idea on how to play with foliage and different heights. Now don't worry if you didn't get to your trees, right, and the first dry, you just need to keep on practicing them. Let's go with the next one. Again, m starting off with the chief trunk. That's what is going to be another AC tree. We're going to combine some of the techniques we used earlier. I'm starting all but teeny tiny lines along the top and taking web fresheners exact movement. So I'm gonna create a rough triangle shape who were Hill? So this is your guideline. So where I have added that triangle, I will be doing with a very solid black color. And along the outer end, I will be adding those teeny tiny lines. So let's start along the outdoor line where I have added that triangle. I'm going with that teeny tiny lines. I'm taking my pressure and now zigzag, broken mano. I'm combining everything possible in this tree. And I'm focusing only on the outer line. So take out all the techniques we learned so far. And along the outer line, you can add some teeny tiny lines, some messy lines, some dotted pattern going a very broken Meno and create that outer work to gibberish along that line the added go in a very carefree manner. You can see I'm adding some broken lines, some darted batons, some messy lines, everything possible. And over the Moodle am simply filling in a black solid color. This one is a very easy tree. I bet all of you will love this tree. You can see how simply leaving that inner part, and I'm only concentrating on the outer boundary. Ok, we just have a little left. I'm just running my pressure very messy. Patton. And I'm forming that outdoor work. And the inner BAD, I'm just filling up with a solid black color, leaving some tiny white space in between. All right, so we have created our rough triangular shape here. That is 83. We have four more to go. Just sit back and have a look at what we learned so far and does recall what all we learned. And with a fresh mind joining in the next section. If it's due all wellbeing, take concrete and join me after sometime are another day.
5. Pine trees - Part 3: Alright, let's go with the last four pine trees. So far we tried a different pine trees first event and that exact movement where we created some messy scribbled Standard aligned. Then for the third and the fourth one, we took our brush in a proceed movement and created some dotted pattern. And that became about foliage. And for the fifth one event in that a much more detailed motion, then we slightly ordered the same technique to get different types of trees. So those are a different type of trees be tried. Now let's go with the next one. I'm using the same brush, size number four, silver black, but the pressure and I'm using black watercolor. I hope you guys were able to follow the ones we've tried earlier. Now for this one also, I'm going to start with the tree trunk. But for this one, rather than going with the straight line and going with a slightly crooked line. We're gonna try a wild motion of a pine tree. These kind of trees are seen in the forest qubit and irregular line, which is our tree trunk. Again, it should be pointed at the and as you come down, it needs to be pico. And no matter what shape you're following, this needs to be followed. Alright, so that is a tree trunk. I have Benton with an irregular line. Now let's add the foliage. This one is going to be slightly different from the trees we tried earlier. We are good to take the same technique as we used earlier about be created foliage using those proceed moment, they've created some daughter pattern. So I'm gonna use the same over here, but in a slightly different way. So all you need to do is create some dots close to each other by taking your brush in a very random movement. Who can see the way I'm creating those patterns. So for this one, I'm going in a very scattered manner. And for these two trees, we will adding them in a linear manner. But here I'm creating those patterns in a scattered manner. There is no order. So without lifting my hand, I'm just adding some dots close to each other in a very random manner. Those no particular shape that you need to follow. Just add some dots close to each other and create a very scattered pattern. Again for history also you can play but though density of the foliage and also the spacing. If you want a denser looking tree and you can add them close to each other without much gap in-between. I'm adding some tiny practice in-between and I'm writing goes dotted pattern would add. This is one of my favorite kind of tree. Just by altering the density, you can even paint a normal tree using the same technique. So if you're using the same technique to paint a normal tree, you can order the tonal values of Sap Green. At some places you can go with a dark green and at some places you can go with the lighter tone of green. And in between you can add some yellow asphalt. It's a very easy technique to paint a tree, just give it a try. Still using the same process, I am adding some more fully to where he'll now I will add some more branches and add more fully age. I'm not going to add a lot of fully it over the bottom. I wanted a bad tree trunk. So I'll just concentrate on the top part. I'm someone who was very impatient when it comes to adding pine trees. And that is a main reason why I caught Mountains. Always. If you're following me on Instagram or if you are following my class, songs can share, you know, how much I allow adding mountains, especially the snow-capped ones. One main reason is that I get little inhibition when it comes to buying trees. I want to finish up the painting very quickly. But foundries that becomes impossible. It takes forever to furnish and in-between, I get ambition. So I always cited a pseudocode mountain. But for some things you cannot miss the beauty of pine trees. The character they add to the painting as something spectacular. You will get to know that we already saw the two projects that we are going to do in today's class is going to be one of the best example in elevating the beauty of a pine tree. I'm nearly done with the tree. I added in a four fold each. Now over the bottom, I will be adding some tiny branches without any FOR lead, just some tiny ones. Or I hope you enjoyed building this tree. And the end of the class, I will be showing you some examples, some photographs. And I will also be telling you which tree you can use and which instance. Let me add some more foliage. Just making them little thicker by adding some more dots. Now, if you want, you can add the foolish in the bottom. But it's always nice to have a bare tree trunk at the bottom and some Dick foliage on the top. This will make the tree look more realistic. Alright, now let's go with the next fine. Starting by adding a straight line, which is thin at the top, thicker at the bottom. So that's my tree trunk. Now regret drive a tree which is similar to this, but it's going to be a much more improvised version of battle. So let's start by adding the full lead on the top, where I'm going to take my brush in a zigzag movement and it will be creating this tiny details. So when you're adding these tiny but gives it as very important to have a brush potassium pointed tip. Otherwise you won't get these delicate details. Now I'm adding some lines, and along that line, I'm adding some teeny tiny lines close to each other to create the foliage. Does the same process we tried earlier. But this time I'm gonna play a little bit the spacing and the arrangement of the foliage. Or were the top, I'll go with the densely packed 30 to the bottom and we'll be going with larger spacing where I will have some less foliage. So you will get to see how the same process can be used to create a differently looking tree. So I added the tree trunk. Then I started the tiny lines along the top. And as I come down and making the lines more vital. And along that line, I'm adding teeny tiny lines. We need to concentrate on each and every line. So that tube will get a perfect looking tree. I think I'll add two more sets of leaves. And we'll go with the Livermore wider one and an IDE induce line. Another one over here and be adding one more set. So dislike I mentioned earlier, you can play with different arrangements. Some of them can be facing upward, some of them can be freezing down. So all these will add a lot of character to your tree. It will make it look more realistic. Now in a similar way, I'm going to add some leaves onto the left side. I'm writing my line, adding those teeny-tiny line along the bottom. And you can add some on the top password if you're another one. Okay. Now, I'm gonna go with the bottom part. There. I will be adding very little fully each. You can see the way I'm adding them. I'm not taking those teeny-tiny line till the tree trunk. I left a toughly tool. Seem I'm gonna deal with this one where I'm adding some daughter buttons are SFU along with doors header lines. So I'm adapting the technique they used or would this tree in a similar way? You can adapt different techniques from the trees we tried earlier and experiment on differently looking trees. I'm writing some dogs who were here to make the tree look a bit more dental on the top. As I'm going to add a little for lead over the bottom, it will look nice at the top bar does more denser. I've applied another branch here, some middle 40. I'm really love underway the street was looking. It has a very unique identity. You can combine the earlier trees and DS1 together when you're painting your pine tree. When there is a lot of pine trees in your painting. And it's always nice to call what differently looking ones so that you're painting the look a lot more realistic. So never forget to play with different heights and different types of trees. Neville add them in a very uniform manner. If you add them in a very uniform manner with similar height and similar looking for leakage, it will look very artificial. It won't add any character to your painting. Now by the time you might have realized to which tree is working well for you. So play around with that particular tree and keep practicing. And once you get the handle referred to, will be able to bring them very quickly. I don't want you to get confused with so many different kinds of trees. So pick one or two which works the best for you, and just play around with that particular tree. Okay, so that was the tenth three. Now we are going with the 11th one. Now this one is also going to be a combination of the techniques we tried earlier. We are going to try the technique we used in the fifth tree and adding those doctored baton. So we'll be combining both the techniques to create the story. I have added the tree trunk. Now let's add the 40 each ham starting from the tip. Now the main difference from this tree and the tree we tried earlier using their darker pattern, is that this one we are going in a very scattered manner along the darker pattern. Amusing noodle scribbles ASCO, some broken lines and some dotted Patton. And I'm going in a very messy manner. Now in-between, either be adding some folios leg this aspen, and also some Denzel pattern like this. So it's gonna be a combination of different techniques we tried earlier. So now I'm using the technique we used in the previous tree where I'm adding a line and I'm adding some teeny tiny lines along the bottom part. Also in between, I'm just adding some lines. Foliage also. So once you get the handles, different brush movements, that darker pattern does glibly lines, tours broken lines. You can combine everything and create a washing off your own. And this is the main reason why I decided to show these mini radiations. I first start off adding just one or two rather than making it too overwhelming. But then venues just copy those two techniques. It won't be a learning experience for you when you try different techniques and then adapt into a particular tree of your own that will be more ECO than just copying one or two to pecan trees. Now over this tree you can see how I'm combining that dotted pattern, some that aligns some messy lines in between. I'm combining everything possible. And the tree is taking a very good shape. This is our tree. Now, or to the bottom, I've uncovered some tickle foliage. I'll just take my brush in a very messy more land and create some big goddaughter pattern. You can see the way I'm moving my brush that has no particular, although there is no particular shape. I'm just dragging my brush with those presi moment on either side. You can see I'm not lifting my brush off continuously and marrying those daughter pattern. Ok, so that is my 11. I'm pretty happy with this fun. Even though it looks messy, it looks beautiful on dry. Now let's go with the last one. Let's finish up the pine tree exercise. But then AC1, trust me, this is going to be the ECS one so far, and we'll be using a similar one in monopolar painting. The foliage will be different, but we'll be following the same process. And lighting the tree trunk, which is really thin on the top and a little thicker over the bottom. You could see how nicely My precious making those thin anticline together. The next step is to add some teeny tiny branches laters, which should be very thin. Some of them can be short and some of them can be long, can add as many branches as you want. But it's nice if you follow some spacing in-between rather than filling the whole tree trunk, what branches? You can see the way I have added them. I have left enough gap in-between. Now or what are the top will be adding little foliage using those dotted pattern. You can create the foliage either by going with teeny tiny lines are with those daughter pattern. In our class project, we'll be using lines to create the foliage. So I thought I will use dotted pattern here. So we will get to know both the techniques. I might very little, this is one branch with some foliage. Now over to the top, I will add some more. And that's so I wouldn't be adding lots of foliage over here. It is nice to combine trees which has lot of foliage and less fully to an European ending something. And that is what exactly will be doing in our second class project. So by the time you finish this exercise and the two class predict, you will have a better idea on how to create different kinds of pine trees. I thought saying you're going to be perfect in that because that requires a lot of time. Because when I look back, when I look at my pine trees, which I use to draw a your bag, I have improved a lot. So over the time, once you keep practicing, you will get better at what you do. It is not just with pine trees, with everything. So practice and patience is the key. So here's the last free from all pine tree exercise. Over the bottom, I simply added some branches and over to the top, I added some foliage. Maybe we'll add some more long ago, branches hill. Alright, so that is our last three from the pine tree exercise. We are done with the exercise part and now it's time to cool with double first-class project. I'm pretty excited to start off first class project. It is a very courageous camping themes. So take your time and give this excites a try. Once you do all the tall trees, you'll get to know which tree is working best for you. And in the next class project will focus on that particular tree. So my tree and your tree in the classroom might be looking different, but that's absolutely okay. My idea of what this class is to get to better at one or two kind of pine trees. That doesn't need to be the same as mine or someone else. It can be a washing which is unique to yourself. Alright, so give it a try and join me in the next section. Let's get started with our first class.
6. Class Project 1 : Camp under the stars - Part 1: Alright, we learned to draw 12 different pine trees. Now it's time to paint our first-class project. The first-class predictors encourages 19. There you'll be painting a camping tent surrounded by pine trees. All right, let's start by tipping down the paper onto obeys. This one is a very novel masking tape. You can use any of your masking tape that you normally use and tip down the four types of the people firmly onto obeys. They'll be doing a baton vet sky. So to prevent your paint from seeping into all those four edges, it is very important to firmly fix your paper onto obeys. And also to an extent, this will prevent your paper from buckling. So run your fingers across the four sides three or four times and make sure your paper as strongly and formally fixed onto the base. And there is no caps and between the masking Dave, that I'm using cure as from Dyson at a very normal masking tape, but is not any artist cheap or Pinto strip or any other fancy expensive tapes at a very basic one, the key is fixing the four sides. You could either use a ruler or you could simply run your fingers just like I'm doing QA and fix your people without any caps. Now this is the inspiration for the graph which we will be recruiting as a watercolor painting today, you could see those nice huge pine trees in the background. We tried different types of pine trees. Alleles are going to be incorporating those. And the background you could go with V2 will be the one you're comfortable, but you don't need to exactly replicate the same kind of trees that you see in the photograph. This is just for an inspiration, will be using the ten to the background. We'll be adding pine trees, which will be the one we are comfortable, but from the ones we learned earlier. Also, you can find plenty of similar images and Pinterest or anti-black or any other websites where you get referenced photographs. Now, for a beginner, it might be a little difficult for you to draw the camping tent by looking at the photograph. And that case, you could type in sellout of camping tent in Google and get images like this. There. You will get a proper outline and it is much easier for you to draw the calving ten, looking at these lines rather than looking at a photograph and the rest you can just follow the photograph that you're looking at. It was just a tip. So whenever you feel confused, you can look for sellout or maybe outlines that we it is much easier for you to draw the camping tent or any other subject. Knowledge depends on sketch. It's fairly simple. Just follow the lines are adding started with an inverted. You. Now add a line starting from the middle of the EU and bring it down. Now add lines connecting those bottom ends. Also add a band like this, which is horizontal to the bottom line. So that is your basic sheep. Now we are going to add those metal frames and also the opening one line there, that is the frame. Now, another one over here. Ok, so that is a frame work. Now we're going to add the opening. You might have seen those zipper opening very enter the camping tend. I'm going to add that hill. I have added the reference photograph in the project section so you could have a look at that. At a simple sketch. You just need to get the proportion dry. Concentrate on the outer shape and also that middle line. Otherwise it may look little distorted. Alright, so that is a pencil sketch, will be adding pine trees in the background. For now, this is the only sketch we need to add. In the previous section, we tried 12 different type of pine trees. You can focus on, which will be the one-year comfortable word. You really do need to follow what you are seeing in the photograph are the one I'm going to draw. Just decode that people and look at the pine trees you have drawn. And just check for yourself which one you are comfortable with, which when you have caught, right? Okay, so just have that in your mind. Now let's start painting the sky. For this guy, I will be using black watercolor. And along with that, I will also be using a little opioid squash. You could either use wide bars or even whitewater global work perfectly. So don't worry if you don't have Gosh. Now, if you don't only use white in your sky, you could skip whitewashing whitewater color, and just go with the green wash of black. You will get to see that in few minutes. How I'm going to incorporate whitewashing the sky. So I'm gonna start by applying an even colder water onto the sky using my flat rush. Just fill up the entire sky in any one coat of water. Leaving the ten. I'm going to use the same brush to apply the paint onto the sky. I'm going with the Black. And I'm gonna start by applying that on the top of the people. As I come down, I will be making the color by adding a pinch of white squash on the top goal with the most bold Cheryl black. Now you could see I have lump-sum wide gaps in between. This is just because I don't want a profit gradient. I want some white and black to go hand-in-hand. Now I'm switching to my white squash and I'm going to add that next to the Black I applied over to the bottom, I will have a light tone. So it's like a grayish tone on the bottom. And we have a solid plan color on the top. Just applying a carefree manner or don't worry about having a flawless blend or a perfect gradient. It is absolutely okay to have some white patches and some glider dawns. And between now if you don't have guar Sure, if you don't have whitewater cleaner, you can just use plain water to bring the color into a lighter tone. The reason why I'm using a wide gratia stat, the color will look more opaque and solid. Then you are going with water. And when you're diluting the color to make it to a lighter tone, it won't look this OH, peak may look very transparent and that is a reason why I'm using white. Garage to make the color lighter. Now, I'm going to apply some more solid black color on the top to make it a bit more darker. Otherwise it won't look like a nice guy. So we wonder dark, bold color on the top and a lighter tone of gray on the bottom. Now half of the sky over the bottom will be filled with pine trees. So you should be going with a similar proportion of what I am having cure you should be having threefold and gray and 1 fourth and black. I'm nearly done with the sky. So it's a very simple process. We just need a solid black on the top and at the bottom. As I mentioned earlier, it is absolutely okay not to have a perfect gradient. You can see the way I have painted it. There is enough of white caps and between my sky is not piling up perfect blend, which is absolutely fine. Then we splatter the stars are those white caps will add a lot of beauty to your sky. So never worry about having a perfect blend to your sky. Now let's wait for this guy to dry completely. Ok, this guy has perfectly dried and you can see the color on the top. I have a solid plan and or to the bottom I have a gray and white tools. Okay, now I'm going to start with the ten. I'm using my size number four, silver black permit rush. And to bring the tent, I will be using Indian yellow and bonds Siena, You can use any of your warm yellow, yellow ochre or gamble jello. That was Indian yellow. It's a very nice yellow. Now I need a little love bonds, Sina. All the sheets I'm using here is from the brand Peter blue C. So we need a lighter tone of yellow in the middle. There we have that opening. And to Docker donor, we're low on to the outdoorsy. You again start by adding anyone could have water. As the ADA is quite model, I'm going to directly apply the paint onto the sheep. I'm starting with a lighter tone of yellow. Applying that along the shape, I have drawn over to the middle where I have that opening and making the color lighter by adding low-flow water. So we have a lighter tone in the middle, which will make it look like there is light inside a tent. Now onto the outdoor sheep covert or more darker tone of yellow ochre. Now onto the bottom, I will be adding more taco tones. I'll start by adding a taco donor, yellow. Then onto though outer corner. I will be adding bonds Sina. Wherever we are trying to create that glowing light effect, you need to concentrate on light and dark. On the middle barrier, concentrating on your light. It should be lighter. And around that lighter area you should have darker tones. This is how we get to glowing effect. You can see how I played with light and dark tunes. Where I have that opening. I went in with a lighter tone of the ALU and onto the background, I went in with a taco tonal via LU. Now onto the bottom, i'm going with Bernstein R2, which is my deeper tones. So here it looks like your source of light to somewhere close to that opening. And that is why that ADRs lighten shade and the outdoor area as Docker compared to that. Now in a similar way, I will repainting the Adelbert. On the right side. You will have a light to tune of yellow on the top. And as we come down, you will have a bonds in our band, just like what we are painting, QIO, which will be darker in tone. I'm gonna start with the yellow. And the other end, I will be going with bonds Sina. So that is the bottom bit, knowledge being the top part. But the light to turn off the ALU. Now, if you would like to add a green tend, you would have seen those neon green colored tent. You can go with that Cologne. You don't need to follow yellow. I'm just following what I'm seeing in the photograph. So it's totally up to you which color you want to follow. And filling the top portion and light yellow. Once we have the background, pine trees, which is dark in color, it will automatically give a glow to the tent when it is surrounded by taco Tools. I'm gonna switch to Bond senior now. And I'm adding a light mutant over this line. I didn't have darker tone over hue. So that band is really the Subaru, just like how we haven't the photograph. Now, I'm going around the outline and adding taco tonal buoyancy now. And I'm going to blend that color into the background. And Washington paint off from my brush. And using my clean brush, either this much this line into the background yellow tongue so that the lines are not really prominent. Alright, so that is the base layer of the tenth. We'll be coming back to this to add the taco dawns. Once we add the pine trees, now our backlog has completely dried. Let's go and start to splatter the stars. I'm using white squash. As I mentioned earlier, if we don't have white glass, you can use, right? Watercolor. Had a drop of water and go in a very thicker consistency. If you're being destroyed, lose, you will end up getting because plateaus, we won't those timing stars. If you're not too sure about the consistency you can dabble brush on or people toggle to remove the excess amount of water. And this will give you a teeny tiny stars. Now using another brush, I'm gonna tap on my smaller brush. So there I took the White Paper and upgrading these stars. Now if you're still not sure about the consistency, try the stars on the scrap is of people before you go in the deal may gain thing. I don't want you to spoil your sky. So it's always a great idea to desktop discharge Before you go with your main painting. Saw that has no room for mistakes. And take out some more. Slapping styles is one of my most favorite part about any night scraping team. And I always go overboard with the stars, but I don't mind. In fact, I allow adding starves. They will add some more. So if this guy has a very bold black on the top, it will look very nice when you splatter of stars. That is why I asked you to cool with the ball dorm over the top. No, I'm going to add some bigger stars using the same brush. Very random manner and add them because spots here and there. Okay? And you can add as many as you want. There is no limit. If you want, you can add a moon. Asl may be a crescent moon. I'm not so sure whether I find a morn or not, because on the next class predict I will be adding a more. So maybe this one you can leave as a plane's guy, but some stars or key. So I have added enough Rothschild. Now it's time to add the pine trees.
7. Class Project 1 : Camp under the stars - Part 2: So we have a whisk IRI and we also have applied the base layer of our ten. Now it's time to add the pine trees. I'm taking all the flow Blackwater color. This will be the only sheet I will be using for the pine trees, you can either use black or pins crea. No, you don't need to follow exactly the same way. I'm adding the pine trees. I'm not fooling the photograph as such. From the trees we tried earlier, you can follow which will be the one you are comfortable, but either this one or the one above. So go the one visuals easy for you and do feel that will be the one you can do perfectly. All right, I'm going to start, I'm using the same crush societies than before, silver black velvet plush. And I'm starting by adding the tree trunk. I'm going with a tall tree over here. I'm taking the line down. You can decide on the high, too warm for your tree and going with few taller trees and fuel shadow trees. And the quick version of pine tree, which is similar to the one we tried first, where we added those misaligned tone to either side. So that is a kind of tree I'm creating cure and ongoing with super detailed ones. In between. I'm adding those teeny-tiny lines as well. So my tree is more or less accompany ation of trainable one and trainable file. I'm adding those line and adding some mystical lines along the bottom and a little over the top so that my tree looks very intense and thick. So feel free to call with which will be the tree. You are comfortable world. You don't need to follow the same one. I'm adding QIO. We will be needing to add more pine trees. The background is entirely filled that binary, so it is best to go with the binary which you feel as a CFO you, rather than just following what I'm doing here. That is why I said quote one, but you are comfortable work. Otherwise you wouldn't be able to get a good result. Okay. So I'm adding those lines and I'm filling those with teeny tiny lines. But in a messy manner. You can see it is not as clean as the one we did earlier. I hope you guys were able to conclude on a tree. All I'm doing is I'm adding a line, some of the more wider and some of them are shorter and along the bottom line. And by adding those teeny tiny lines and a very messy manner. So that is the way I'm adding the tree. This one is quite easy. You just need to get the hang of it. I think by the time you finish this painting, you will be getting it easily because we'll be adding that many trees in the background. A year back. I was too bad at drawing pine trees are used to skip reference pictures, whichever had pine trees. I remember those days. I used to heat drying by injuries just because I never get it. But then gradually I kept trying. I used to look at reference pictures and I used to replicate that. And slowly I got the hang of drawing by injuries can be a little tricky if you're a beginner. But don't worry, you are not alone. It is how it is. It takes a lot of practice to get to a pine trees, right? So never give up on the first try. Keep trying. Once you get to your brush movement, right? It is very easy. Now from here to the bottom, I'm going to make my foliage a lot multicolor and tensor. This will be the same for all the trees that I'm adding because around the tent I need a solid black and a big forest, a kind of an effect. So on the top, I will have a properly shaped by entry. I won't be focusing on the border much. I'll be just focusing on the top where the shape of the binary is visible. Now let's fill up the border media and solid black leave him some white space in between. One to how those darker tones around the tent. It will make your ten look like it is glowing in light or keys. So that is my first tree. On the top event in the thin lines. And as I reached the bottom, I went in with more messy and more thicker lines to make the tree look more tensile. Now I'm adding solid black over the bottom, leaving little whitespace in between so that it will look like it's foliage and you're seeing the sky through those gaps. So that is will firstly Now I'm going with the second one. I'm going to add one over here. Maybe a slightly inclined one. I'm taking my lines to either side and a message is exact manner to create a fully age. And I will take it down. I say come down, I will make the full age a little more denser. I'd be fooling the same as before. So you can decide on the kind of trees that you want. The kind of arrangement I don't want to follow will be if you want much more to other trees, you could do that. Or if you want some shorter trees that also is up to you. I'm nearly done with that tree. I'm taking it down. And as I'm touching the other tree, I'll just go with some solids glibly lines there. I'm not going to detail it over here because it doesn't really matter. It won't be that possible even if you add those tiny details over here. So you just need to fill up that area in some messy lines leaving some white caps in between, just like I'm doing here. Alright, so that is the second one. Now let's go with the next one. I will add another taller one right here. I'm adding the tree trunk, which is thin on the tip and thicker at the bottom. I have added my tree trunk. Now, I'm starting to add the foliage. I'm starting with those tiny messy like I'm taking my brush to either side. And creating the foliage. You could say, I'm adding them quite quickly without worrying how my lines are going to be. We just need to get that overall shape right. You don't need to really worry about each and every little bit of your tree and the lines. And you can add those teeny tiny lines EDL in a messy matter like I'm doing here. Or you can go with a properly arranged, neat, and clean tree like the one we tried in our exercise. Friction is totally up to you. Let me quickly finish out this tree. We can do it. There are all those reaching the bottom. So I'm going to fill up this idea behind the attendance or the black. To stick your brush and run it along the outline of your tongue will be doing the same on the other side as f2. So on the top, as I mentioned, the allele will have a nice proper shape of the pine tree and all what the bottom. We'll be going with a very intense and typically packed foliage. And then we are too close to the pine tree, will be adding a solid plaque around so that it will enhance your ten and it will really make it look like there is light inside. So we'll finish up the remaining of the tree. And as we're hitting the border, will be filling a solid black or whatever. Ok. We're almost hitting the bottom. I'm just simply taking my approach and adding some scribbly patterns or virtue. Leaving some white gaps in between. We just need to create some mess over here. Okay, we added three huge pine trees and we have reached the middle of the paper. Now causes the paper's left at binaries will be going in a similar manner. We'll be adding some chart or trace as food. And we'll be filling up the rest of the area. Next time going with the shadow tree or war hero. The technique is the same. I'm taking my profession as exact moment and creating those messy life. And as I'm hitting the tin, I will be making it more tensile and thick. So you can try any kind of tree that you want to. You can add something with less foliage and something with more foolish. For this one on the top, I'm not adding much foliage, I'm leaving it like that. Now just over the bottom as we did earlier and filling solid black over here, it is always good to go with a combination of different heights and different kind of fully so that your painting look more realistic. No good than uniform arrangement. Rvs played the tides and all kind of competition. Now, I'm going to add another medium size three. Right over here. Will be a little more to follow. It came from my press to either side and a messy manna and creating the foliage. I will reach the bottom. So I'm going to fill this area and solid black. I'm gonna take my brush around it and give it a proper outline, a worst Hill. Okay. Now, I've allowed term scrubbers over the bottom and we get looked more thick and dense right behind obtained. You could see there is no particular order or pattern that I'm following. I'm just running my brush in a very messy Meno to create these kind of battle. My focus is only on the top of the pine tree. Over the bottom. I'm just mindlessly adding sorted black sheet. Okay, now let's go with the next tree. I will add few shorter ones, then o to the right, and I will go with some huge trees. So that is one there. Now maybe I will go with another medium-sized tree over here. Adding the full Leach. Just taking my brush on to either side. Okay? Again, see how messy my lines are. But at the end, those messy lines are creating a beautiful pine tree. Order needed to do was get rid off all the field that you have in your mind and go with a very carefree manner and greed. This loose kind of messy line. Without holding back, once you have reached, he'll just give a proper outlined to the ten and then fill up the remaining and black, but some caps in between, which is right behind your teeth. Now, we just have a little more ADR left on the right side, i'm going with a very tall tree, right over a hill, a super tall tree. I have added the tree trunk, and I'm starting with the foliage in a similar manner. How might it all there? You can see how easily I'm creating those tiny lines using this brush. This is the main reason why I love this brush. You don't need to buy a whole kind of sizes. You just need to industrial n1, n2 could pressures which can be used for almost all the techniques. This bridge works well for me because I can use it simultaneously for smaller details and because meetings, so I don't need to keep switching from one branch to another. You can see those thin and delicate lines. I'm able to add that this single approach, professional grade art supplies are quite expensive, so always invest on the right kind of art supplies. This brush is more than two years old and still it works perfectly over years. When you use your brush for multiple techniques, it can spoil the pointed tip off your brush. That is the only time when I change my brush. Anyway, coming back to the painting, they're almost hitting the right end. I'm pretty happy with that. Maybe we'll just need to add one more tree and that, that will be done. I'll repeat the process again. We started with the tree trunk. Then we added some teeny tiny details on the top. As we were progressing down, we make the lines more wider. And over to that line, we've ended with some messy tiny lines, just like I'm doing now and create the foliage in that way. Then when we were close to the ten to prevent another solid black, leaving some tiny white gaps in between. So that the idea around the ten looks like it does vetting wind and densely. But so yeah, that was that is how we added all the trees. Okay, so let me quickly finish this tree adding some solid pattern so for the bottom. All right, so this is where we have read so far. I think we'll be in touch with one more tree. I'm really loving the way how about pine forests is taking a shape. I'm really excited to finish this project, and I hope you guys are excited to.
8. Class Project 1 : Camp under the stars - Part 3: And here we go with double Abbas tree. I'm going with the super tall tree. And that is my tree trunk. I'm Adam, do solid black tombs over the portal. Or do talk will go in a similar manner. How we did allele will be adding those teeny tiny lines to stop at the tip of the tongue and alter the medullary beginning with some vital lines and we'll be adding some dental foliage. I hope you guys were able to follow along and do, but we're able to create carriages, binaries. So far we tried quite a lot of trees. In the exercise section, we tried to all different trees. And for this grass project, we added around eight or 93. So far. This class itself would have been a great exercise for, you know, as you progress and as you keep practicing when you advance a new art courier, everything will comes EC2. Because with more practice, your hand will be more flexible and you will be very carefree, but your brush, you won't have that restriction in your hand. When you are a beginner at the New York trying something new, you always feel like your hand is holding you back and you wouldn't be able to put those loosened free lines. But then that will change automatically over time. You just need to keep on practicing. By neutron gets something right in the first Dr. Neville cube. That is a mistake most of the people do. Once they don't get something right on the first try, they always feel like no, this is not for me. I wouldn't be able to do it. And the neighbor tried for a second time. The winners are those people who always keep trying. Maybe even with your second try, you may not be getting a good result, but I must tell you you will be one step closer to that perfect Roosevelt. So all these how faith and belief in your own skills, everything is possible but the practice and patience. So please don't give up. Keep practicing even a few fleeting multiple times. And with that, we are done with our last tree, and finally we have pine forest. The next task was to add the remaining details on the ten. We need to add those depot tunes and the final detailing on that. We'd also need to paint the bottom part. We'll be adding a solid black color over the bottom. And the area which is closer to the TRND will be adding bonds Sina to create that light effect. I think I'll just clean up the outline of the tune. And once we finish the detailing of the ten degree comeback to the bottom part, first, let's go with adding some shadows. I'm going with the lighter tone of black at 21, which is closer to Cree. And I'm writing a line over here. Now, I'm going to add an inclined line from here to the bottom. You can see the kind of color and Quinlan to very light touch of black. Now I'm going to take the line towards the bottom. And I'm simply filling up that area in the light to turn off. Agree. So that is the shadow. Now in a similar manner, I am going to add a shadow onto the opening as just a lighter tone of black cohosh. That's not a score. The remaining details, to add the remaining details, we needed people to not bond Sina. So I'm mixing of Punjab black two bonds and now to get a deeper tone, and I'm going to add that over the corners of the ten. Just a teeny bit of Black to your bonds Tina, and add data will heal onto the scanner. Now over here. So all the corners we added that depot tone of bonds. Say now, now I'm washing off my brush and clean water, um, just blending that into the background. So Washoe brush properly and that clean water. Just blend that industry background. Once you have added the depot two and so on all the corners. Okay. So that is the deprotonate bonds Sina. I cleaned my brush and I'm switching that into the background. To get a much more cleaner nuke, you can use a little of yellow. This will make the blending much more ECO. Now, I've got yellow next to the bond three now, because we have yellow in the background. So when you're using the same shade as much EC2 blend. Okay, so that is the deeper tones over the bottom. Now let's wait for that to dry bonds. All those rise will come back with the final detailing. Meanwhile, let's pin the bottom ground, leaving the area closer to the tent. I'm going to fill up the remaining in Blackwater kilo is just a solid sheet. I'm going with a boiled turn off black and I'm going to simply fill that shade over the bottom. You can see how I left a space which is closer to the tenth. Now over there, I'm going to add bone Sina and blend that with the black. To simply add some bonds in over there following the line of the tent. Just by adding that little bonds around the tent and covering up though surrounding Ada and black will really enhance our ten. All these will make it really look like our tenders glowing in light. You can see how it is glowing already just by adding that bonds around the crowd, which is closer to the tip, and also by adding black around the area surrounding that. So all these are really making a great effect on our team. Okay, now it's time to add the remaining details on the tenet. That is the only thing we are left with. So let's go with that and finish shuffle or painting quickly. I'm loading my brush with the deeper ton of bonds, Sina, and I'm going to add a very thin line over here. Similarly, I will be adding a line on the other side, asphalt right over here. The darker tone of brown go they're very thin and delicate line too. You don't want the line to be two prominent, so avoid adding decline. If you want, you can switch to your detailing branch of that is more convenient for you. Now let's add the remaining lines and all those framework. That is the only thing left next as this line. Okay, now we need to add those framework, that Calvi line over here. And we have similar one on the other side, Jasper. Okay, now let's add the other one. On the left side. Please make sure your lines are not to take. It shouldn't be too prominent. You should be going with something similar to this. It should be asked in as possible if you can make it more thinner than what I'm doing here. Perfect. Maybe you can use your detailing brush to do this. Now, let's add the other line, which is stride toward the center. I'm adding a tiny dot over here just to make it look like there is a connection over there. Now, this line over here, again, I'm dealing with a darker tone of Brown. And I'm adding the line right at the centre. So that is that line. Again, I'm adding a dark over there. Now the last task is to give an outline for the opening. Again going with a darker tone of Brown and I'm just running my brush around that outline, be greeted. So you'll find plenty of remainders and Google Pinterest or an splash or any other photo reference website. And you can recreate them as your watercolor paintings. Maybe you can go with the purple sky and add some pine trees and go with the neon green tend. There are so many things you can do. Just explore different possibilities, looked through different photographs that will automatically boost up your energy and give you plenty of ideas. So the number, I feel unmotivated, I just looked through photographs and I simply sketch down waterboarded, grabbed my attention. It could be some color combination that gives I just noted down, or maybe I create a thumbnail sketch. So I kind of adapt different things from different photograph and create my own version. Just because I looked through a lot of inspiration photographs, my mind is full of ideas of ways that exist that I get very little time, but my mind is always exploring with ideas. Oh, good. So that's two we are done with the whole first-class project. I'm pretty happy with the result. I really loud though glowing tend and the pine forest which is surrounding that, and also the sky which is full of stars. Everything has come out very beautifully. So will these are the two different trees we tried. And I went in with a mix of different techniques. We tried. Hello, I'm happy with the final result. I'm really happy with the trees and everything better. Turn the painting. Ok, now let's peel off the masking tape. And there you go. I hope you guys enjoyed building the camp seen under those guys. Give it a try. If you haven't tried it yet. And the ratio you're going to love the final painting. If you want to go for a different shape for your sky, maybe wanna try purple, blue are some other pride, cheap coal with that. Alright, give it a try and join me in the next section where we will be painting of a second-class project, which is going to be another spectacular night sky painting. But some pine trees.
9. Class Project 2 : Dreamy full moon night - Part 1: I hope you enjoy being the novel first-class project. Here is have a second one which is going to be in a similar color palette for this one. And we'll be going with the little more detail version of pine trees. Okay? I have to have done my people onto the base. I'm gonna start by a plank and even got a water onto the entire paper. And for that I'm using my three by four inch flat brush. You can use any of your bigger sized wash crush. I wanted to go with the minimum number of pressures for this class. And that is why I am using the same brush for applying the paint and also for applying the human could a water. Now, I'll be going the same colors as before. For this guy, I will be using black watercolor and a bit of whitewash. And to add the pine trees, I will be using black watercolor again. So those are the only two colors you will need for this particular class project. So let's start by applying anyone could the water and even clean court. Make sure your paper as properly fixed onto the bees and there was no caps. And between. Now, keep learning your brush across the people to get an even coat. There shouldn't be any pools of water in between. So our blood and even colder water onto the entire paper. Now let's start with Blackwater color. I'm going to the darkest tone of black. I'm loading my brush with very ball tone of black. And I'm going to apply that onto the top. I'm taking my pressure horizontal mano. So this is the shade. I'm using it as speech black by PWC. It's a Verde boiled and dark black. And applying that on the top. Go. Maybe a little more. You can see the kind of color I have on the top. Now. I'm gonna spit white squash. And I'm going to apply that closer to the black. And I'm mixing those colors well now or to the bottom and going with the much more lighter tone of grey. So I'm washing the dog from my approach. And I'm cleaning my pressure and I'm switching to a lighter tune. So just because we're using whitewash, you're painting the look more kwashiorkor rather than watercolor. So if you want a more transparent and look to your painting, you can skip using whitewash and Colbert water. Instead, I really loved the opiate colors and that is a reason why I appended with Kourosh. Now i'm going with a lighter tone of agree and I'm applying that over the bottom. So we have a dark and bald black on the top and over the middle, we have a medium to an agree, and over to the bottom we have a very light one of Gree. You can see my lighter tone agree is almost close to white. It is inverted Tarik. Okay. So we have a nice gradient, Gulf black, which is coming down to a lighter tone of grey. Now I'm running my brush from bottom to the top and making the gradient a little more smarter. So that is the base layer. Now this is where I am considering to have a horizon line. It's going to be an imaginary horizon line. So we'll be separating the sky and the water just by adding these kind of reflection. So you just need to take your branch from one end and drag that into the middle. Using your flood prone, you can see the color I'm using q at is 12mm darker than the base color we used over the bottom. You can see I'm not taking my lines and tell you to the other end, stopping at somewhere in between. Now I'm gonna do the same thing from the other end. I'm dragging the paint into the center and am stopping in between. You can clearly see there is a lighter tone in the middle, which is going to be the reflection offer will move. So you need to create certain area. It could be either to one side or it could be towards the center variable you want to add, you move, you need to create such a lighter tone in the middle that will automatically becomes your reflection off the moon. Okay, so we have added in a fourth reflection. You can clearly see that lighter area or will heal. This is what I'm talking about. Now. The next task is to add some stars. For that, we'll have to wait for the background to completely dry. Before that, we're going to create some white patches which will eventually become our shining stars for that using an IO. But and I'm gonna lift off paint from random ADI using this yield, but you can also use your brush to do the same. Now, I'm making this a year but damped by dipping in water. And I'm going to press that against the people to create some white spots. Now go pick random AD and do the same. You can use a damn brush to create whiteboards like this. If you don't have a sailboat, we just need four or five at random places. We don't need a lot of them. So pick some random Ford's lived and breast a year but against the people and lift up the pain to create these white spots. One tell us guy drives, we have, we begin these bots and it'll be adding because you are or what these areas and those jobs will look like as if they are shining. If we'll get to see that in some time. Okay. I think I have added enough. I'm just running that year but around the spots to make it a little more subtle. So now I'm going to show you how to do the same using a brush. All right, to our sky has completely dried and I'm loading my brush with white squash in a little thicker consistency to splatter those towers. If you're not too sure about the consistency, you can W brush on our paper toggle to remove the excess amount of water. That you will get those tiny stars. Alright, the consistency seems perfect. Now let's go ahead and splatter. Sometimes I'm tapping on my brush using another one. And I'm creating these kind of little stars on the sky. Keep on tapping and create as many styles as you want. And you can see how gorgeous all stars are looking, because we have a buddy board and dark black background. Let me take out some more. And I'm going to splatter some more stars. So this is the white Galatia used. It is from Ryan. White watercolor. You just need to work on a thicker consistency. Now, I'm going to be called as whiteboards. And I'm going to add big white part right at the center of those patches we created. Again, see how that is looking like our shining stars. This is what I said earlier. I have added seven or eight had spots. I'm going around and adding white spots in the middle of all of them. Now, after those several picks, some random Media. And I will add two more because stars, as chi is looking so gorgeous. Now add an ask Mini because processor will go in a very random order. Don't add too many close to each other. Next I'm going to add a more. Again. I'm going with white squash and I'm going to add a moral right over here. If you want to add to your mole on the left side or even in the material that is totally up to you. And choosing the right side where I have created those reflection and the water. So wherever you have created that reflection, agile mold right on top of that. So we have added the moon, we have added that circle. Now i'm going with a light tone of gray and I'm going to add some patches in the metal so that it looks like a real moon. So all you need to do is drop in some gray shade without any particular shape. And just much thought into the background, your background white crashes still wet. So make use of the time and just drop in some random shapes and much that. So you have your mon, they're all rights. All they have the sky, the stars and the moon ready there. Now the next task is to add the pine tree and also add the remaining details over the bottom. This is where we are right now you can see that called the sky, the stars and the moon. Everything's looking so protein. Now I'm switching back to black and I'm going to add the remaining details. Let's start by adding the ground at the bottom. It's going to be like a hilly place. So this area which I'm painting right now, it's an elevator area. And in the background we have the water and we'll be adding some floating rod can, some patches of land and the water to make it look more interesting. Let's finish this part first. And then Corbato, rocks added no claim first and simply Philip data1 black. You can decide on how high you want this area to be. So or the right side, i'm going with a little more higher area. And along the middle, I'm taking it a little down and over to the other end. Again. I would raise it a bit. Just fill it up. Alright, so that is the bottom part. Now it's time to add the rocks. You can see how over water is glowing. Once we added that black shield on the bottom, we can clearly see that more light and the reflection. Now onto the water. I'm going to add those teeny tiny rocks. And it's going to be very small. I'm going to add some over this area. I'm not going to add them onto the right. Onto the right, I'm going to add some pine trees. So if I add these rocks over that side, everything will look little BC. So I'm going to add them only onto the left side. So this is the kind of size I will be using. If you are going with bigger ones, it won't have that sense of proportion. You can see the kind of size M queen would go in a similar way. Bidder near huge rocks, this is the size we need. Now go on and add as many as you want. So I'm starting by adding a line. Then onto the top of that line, I'm adding a pump in between. You're going to add some tiny bits like this. And some of them can be much longer than the other one. So go to companies of different sizes and shapes. Let me add few more. I'm picking some random Ada and I'm adding these tiny rocks. We can do. Alright, that's it. I have added enough of rocks Now. I'm going to wash off the paint from my brush. And I'm going to switch to a great tone. And I'm going to add the reflection of these rocks. Good tone with a slightly darker than the background Leo, for the Waterloo event and with a lighter tone. Agree. Now I'm creating a grid which is 1to1 darker than that. And using that sheet, I'm going to add some blind right underneath these rocks. Just follow the line of those rocks and add some lines. All you need to do is follow the line of the rocks you have added and take a Docker. Don't agree on your profile and add some blind right underneath the rocks. You can see I'm adding very little lines. I'm not adding a lot of time. I'm just adding fuel closer to the rock. I'm not writing anywhere else. Okay, versus how some more on the left side. I really loved away how this painting was taking shape. Doing it already. Now the next step is to add some pine trees will be adding few huge binaries, maybe four or five of them. Okay, finish off your sky and the remaining details and join me in the next section. Let's add some pine trees and Phoenicia follow painting.
10. Class Project 2 : Dreamy full moon night - Part 2: We have our background ready. Now let's start with Hubble pine trees. So as I mentioned earlier, the strand, we're going with a little more detailed ones. The ones where a little faster. This one is going to take a bit more time. So again, I'm going with the same steps, starting with a tree trunk, adding a straight line with a slope button on the top. And as I'm coming down and making it thicker, so that is the tree trunk. Now, it's time to add the foliage. So if a bridge doesn't have a pointed tip at this advice to switch, we're detailing brush because it is very important when you add the tiny details onto this tree. We are going with some crisp and delicate detailing. So if your brush doesn't have a pointed tip, you won't be getting those teeny tiny details. I'm starting with the top. You can see the kind of lines I'm adding this super thin and I'm adding them on either side. So on the top I have some tiny lines. Now as I'm coming down, I'm making the lines more wider and also onto those little lines. And again, adding some teeny tiny detailing which were tried earlier. I think that was the tree there. We added lines and onto the bottom of that line we added some blind too close to each other. I will be using the same technique here. This one was a messy motion, whereas the one we're going to try now is going to be a more detailed and CRISPR washing this furnace. You feel it is just that you need a lot of patients while doing this firm as we're going in a very detailed manner. So I'm adding a line, a very thin line onto ITO side and onto the bottom of that, I'm adding some teeny tiny lines close to each other to create the foliage. Now, as I'm progressing, I will be adding some onto the top of this line as well and not just to the bottom. And also I will be adding different kind of lines, which means I will be adding some lines, dropping down, some lines facing up, and some lines which are more wider than the other. I will be working with a combination of different sort of lines. Now what will be the kind of alignment you're flowing for your meter lines? You need to have this teeny tiny lines. You can either add them only on the bottom or you can add them on either side of the line. So just closely bought out how, where I'm adding my lines. So here both the brand is on either side of the tree trunk where in a similar arrangement. Now i'm going with the next one. This one, I am taking a bit more down. There's been ascribed or from dropping down. And you can see the kind of lines I'm adding. Now onto the other side, I've allowed a similar line. I added lines on the bottom. Now I'm adding fuel on the top. Ok. So going a combination of anything and everything that you feel like, it doesn't matter. That has no real rule that you need to follow. Go with all kind of flying. Some of them can be going upward, some of them can be dropping down. Some of them can be wider and some of them can be shorter. Play with all those combinations. You can see here, I made the branch on the right side shorter compared to the one on the left. When you're adding these kind of tree, you need a lot of patients, but this can be a beautiful addition to your painting. You just need to one single tree to create a lot of impact on your painting. You can't beat a gorgeous night sky or even a gorgeous evening sky and add a spectacular tree like this. At the end of the class, I will be showing you some difference in images. There. I have chosen some images where it is one single tree, but the gorgeous guy. I'm going with the next branch. This one has faith in little up and I'm adding those tiny lines on either side. You can see that one is little longer than the previous one. And this one as foo, I'm writing lines on either side. So this is what I said earlier. You can play with any kind of lines. This will make your tree look more realistic and natural. Now, even this one, I made a dropping down. Another one over here. In this painting, This will be the only tree where we'll be playing with foliage. The rest of the trees, I thought I will go with some empty branches which has very less foliage. So you can see here how I played with the lines are the branches are in different alignment. Some of them are up, some of them are. Now in a similar manner. I am going to finish the entire tree that drew triangles. Little scary, that is quite a lot to add. Any way we will start one by one. As I mentioned earlier, if you're a beginner, it might take a bit of a time for you to go from very restricted lines to lose line. But this one might be a bit iffy, even though the finished tree. You just need to add alliance in an organized manner with a lot of patients. You can see how much time I'm putting for each of those branches. If you're going to very quick pace, your detailing would look this crisp and sharp. So the beauty of this particular tree lives and those little detuning or key. So I'm going with the next branch. I hope the ideas clear to you. I added branches which are hanging down. And I'm adding these tiny lines on the bottom part. So the trainee added here is accompanies channels, dysphagia and discipline. Here. We added those lines and then onto the bottom, we added those teeny tiny lines. And under some of these branches, we added those deme lines on the top part as f2. We added them on either side of the branch. Even though this particular tree takes a lot of time, this is one of my most favorite type of pine tree. It adds a lot of character to your painting. You just need one such huge tree to bring in a lot of beauty to your painting. This type of binary is the perfect one you can use for your window paintings. You just need to add some snow on the top. And you can also apply to some snow onto the entire tree to get that winter you vibe. We still have half of the tree left. So till now, we just added one single branch. We added a line like this and then we added those tiny lines. Now as I'm coming down, I will be adding more divisions to that branch and onto all those little diversions, I will be adding these tiny lines. You will see that in a bit. Now have a look at this branch I'm adding, I added my main branch. Now I'm I didn't lose division. Now onto all those little diversions, I'm adding lines, which is my foliage. Ok? Now, the number of solutions you want to add as totally your choice. Also how much you want to extend your line. That is also your choice. There is no particular rule that you should be following. Just add an ask many branches as you want. So when you're adding these multiple branches, your tree will look more wild. You can also reduce the spacing in between and go with the denser washing of a pine tree, which will make it even more wild. Oh, you can go with a very thickly pack torsion of the same pine tree and add multiple branches like this and create a wild pine forest. You know, this sheet forest green. That is a largest green which you can use for your forest kind of paintings. It's like a very dark bluish green. You can also use integral and a bit of viridian green to create such a color. But you need to explore that color if you haven't tried it yet. It's a gorgeous screen, which is perfect for pine trees. To be honest, I'm getting a little bored of doing the same thing. So I thought I will add the branch is first and I'll come back with the details later. So that will give me a little break from the detailing. I'm not looking at a new reference photograph. I'm just adding the lines as it comes to my mind for some of the branches and adding multiple divisions. And for some of them, I'm leaving it as a single branch. Depending on the level of your patients, you can work with less spacing and more spacing. If you want to go for a densely packed train, you need to walk with less of spacing. So I have added all the branches now onto all of these lines. I'm going to have these kind of teeny tiny lines. And I'm going to finish up the tree. So this is where we have reached so far. I have some old brand is left. So I'm gonna quickly and the foliage onto those fantastical. I hope the idea is clear to all of you. All you need to do is do we need to add the branch first? Maybe in-between can go with some vital brands and some of them can be shorter ones. And also you can add Brian does with multiple divisions. Now want to have additive branches onto all of these. You need to add this teeny tiny lines, which makes seal pine tree look more interesting. The more tinier detailing us, the more beautiful pine tree will be. So go with the smaller sized crash or any brush which has a nice point at tick. And keep on adding these tiny lines and finish off that tree. I'm going to add some more in between to make the tree look more Denzel, just under the bottom. I'm not going to touch that top part. I'm pretty happy with how it turned on the top. I'm lobbing logos you'd Alliance and detuning. I hope you guys allowing your tree to. In fact, even though the finished tree looks a bit difficult, It is an easy one to do. I think you might have realized that by now. All you need is a little patient. And I have to also detailing branch which has a nice pointed tip. But there is one of the most important aspect of this particular tree. Otherwise your tree won't look this crisp and sharp. Now let's go the next stream. For this one, I'm going with very less foliage just because I wanted to finish up the painting quickly. No, just kidding guys, I want to go with a combination of a tree which has lot of foliage and which has less foliage. Attic I will be adding to R3, which has some less foliage, may be, I will be adding some foliage just onto the bottom. So I'm starting with a tree trunk, which is thin on the tip and thicker at the bottom. And I'm starting with some lines on the top, just like how we did earlier. Just take impression as exact moment and add these thin lines on either side. Well, that is a falling edge on the top. Now let's start by adding some branches. Go with any kind of arrangement that you want for your foliage. Maybe you can have a lot of spacing on the top. And maybe you can have less spacing on the bottom or the vice versa. Or you can go with a specific uniform interval. So go ahead and play with anything that comes to your mind. You don't really need to follow what I'm doing here. You can go with your intuition. Maybe don't look at the screen, just listened to my y's of that is disturbing. You can mute it. Oh, I'm trying disease that don't restrict your skills. But the same thing I'm doing here, you focus on your mind and respect to your imagination may be you will end up having a better tree than mine. Because I have seen spectacular student work. Some of them have killed it in the first try. So I always tell my students to go with their plan rather than restricting their imagination and focusing completely on the instructor. Once you are thorough with the technique, you can always go with your imagination and try out something which is unique to you. You really don't need to follow each and every line I'm doing. Q. I'm really waiting to see your class predicts. I'm pretty sure you all are going to kill it. Anyway. Now let me quickly finish up this tree. So in between I'm adding some empty branches also like this. I'm going with the company snuck empty branches and branches, but 48, we'll cover similar combination very how all sorts of tree, you'll have different heights. You have different kinds of branches, you have different kinds of fully age. All these little details are going to give your painting a very realistic look. I'm nearly done with this tree. Now in the next section, I will be adding two more trees. And, but that will be done. The tableau painting.
11. Class Project 2 : Dreamy full moon night - Part 3: All right, so this is where we have read so far. Now let's go with the next tree. And another one with some empty branches right over here. Ok, so that is the tree trunk. Now I'm going to add some m2 branches onto either side. Just like how we did earlier. And does the same method I'm using q, but then I'm starting with empty branches. I'm not adding any tiny details on the top. So as I mentioned earlier, please call what the detailing brush or any brush which has appointed tip. Otherwise your brand is won't look this sharp. So to get them very delicate. And then you need to switch to our detail and brush or any branch which has appointed tip. The brush. I'm using a silver black by wet brush ground size number for this precious and ice point at tip. I haven't changed to any other brush ever since I started the pine tree exercise, I'm using this single brush. Okay. So you can add in as many branches as you want that has no restriction. It's totally your choice. If you want a denser tree, you can add more branches close to each other. Or if you want a tree similar to this, you can go with a similar spacing. That was quick because we didn't add any full leads onto that tree. So if you go in with a combination of trees which has lot of foliage and which has some less foliage. It is much easy to finish off your painting rather than painting them all off the cuff foliate, that will take forever to finish, especially when you are adding these teeny tiny videos. Now, I'm adding one last tree or we're here an inclined one. This one I will go with decompensation of empty branches and foliage, just like the second one we did. Okay, so on the top I added some empty branches. Now as I'm coming down, I'm adding some knows foliage onto that. I'm not going with the very densely packed tree. I'm just picking random area and I'm adding these lines. I'm not adding them to the anterior branches. Now maybe onto the bottom, I will add few more. I'm actually pretty happy with what of our class predicts. Both of them look very dreamy. I really loud hogwash helped us to create an opic sky. I don't know if all of you are using wide quash real sky. If you didn't use wide gosh, I'm pretty sure you're sky. We'll be looking very much different from r. Because I tried the same using black watercolor and just water. I used ordered to bring the color to a lighter tone. It was looking so pale and transparent which been placed me at all. It is at that point I thought by kinda use white guage with black watercolor. Because most of the students, I know how a white grasping, they have bought a separate tool for splattering the stars and to add those details. So most of you might be having a whitewash. The, if you don't have one, you can also use your whitewater color, which will still give you an opaque look to your sky when compared to using water to dilute your color. Anyway, if you like your watercolor to look more transparent rather than opaque, you can use water. So this exercise is more based on pine trees, so this guy doesn't really matter. You can use any color you wish, or you can use multiple colors. Maybe you can cope with the gradient sky, which has two or three sheets, or you can add some clouds. All those things are totally up to you. I just want you to get a clear idea about how to draw different kind of pine trees, but you can use in your future paintings keys, so that does the tree. Maybe I can add some more fully each just over the border. I really Lao, How do we averse guy? And the water is glowing. I'm really, really happy with this one. Okay, so here is a finished painting. We've ended with the same kind of tree, but then be played for the foliage. For the first one, we didn't add any empty branches be filled all of those branches. And for the second one, we played with empty branches and some branches possess for leach. So we got two different types over there, which medieval painting look very much realistic. And for the third one, we've ended with empty branches with an ad Amy foliage. And for the other one we added at the end, which is that inclined, will again be played with empty branches and some branches, which asks for the huge, just like the second one we added. So we played with all sorts of companies. And that is what may double painting looked as cultures. So here is a tour of different types of trees we tried. And this is the first class project where we went in with a very messy sort of pine tree, which was so much quicker one compared to this one. You can clearly see the difference between these two trees. Oneness looking so much organized and meet. The other one is a messy worship. Ok, so you can use all the techniques we learned in the first section and create your own version of a pine tree, which can be messy like this or which can be much organized like this one. So it's totally up to you which type of tree you want to follow for your paintings, for this one and also for your future ones. And that's a closer look of our painting. You can see those teeny tiny stars and this beautiful pine tree. How will move and those reflection, everything's looking so perfect. I hope you guys had a great time painting this dreamy night sky. Do give it a try. Either with the similar black sky are, some folk are pink or blue, or any other color that you want to use for your sky.
12. More Inspiration: All right, so we tried 12 different binaries and we did do class projects. One was this one the camping Knight, and the other one was fair. We tried pine trees with more light. Now, I'm going to quickly take you through some photographs which can be a reference for your pine trees, will start with this one. Do you find it similar to any of the trees we tried? No. Right. But you can tweak all of our tree a bit to make it look like this one. I am talking about district here. For this one, we added all the branches facing down. Now, if you try the same tree in the opposite direction, it is going to give you a tree similar to the one and the photograph. Okay. Let's give it a try. I'm adding the tree trunk. Now. I'm going to add those branches facing to the other direction. Once we have added the branches just exactly similar to the one we tried earlier, you just need to add those teeny-tiny lines close to each other. So the lines should be facing up rather than dropping down. That is the only difference here, but you're going to get a beautiful tree. I'll switch to dam labs. Just have a McCollum adding the lines at is exactly similar to the earlier one. The standard we are adding the Lions onto the opposite direction. That is only difference here. Okay? You can see how the tree is taking shape. You can see how easily record a new type of tree using the same technique. This way you can look at different photographs and tick the messenger reference. And to secure tree a little bit, it is going to be a great exercise. Trust me, just look at them. Random photograph and try and incorporate those features into your tree. Now let's try another one. Now, when this photograph, the branches are empty. They don't have any foliage at a so similar to the one we tried. So just to create a different mode for your painting, you just need to use these kind of trees which doesn't have any foliage. You just need to call what those naked branches. This can bring a different character to your painting. Now let's give that a try. So that is a tree with 0 foliage. You can use these kind of trees to create a different world altogether. You can go with those, some are kalos and you're still kind of trace in the background. The same tree can be useful windows as f2, you just need to paint agree or an indigo tone and the background and add these kind of trees, then you can apply to some snow on top of the trees. Also add some snow. Do those branches just add a line of white onto all these branches to make it feel like that our snow accumulated on those branches. Now you would record a little idea how you can tweak the same trees you tried earlier to get a different mode for your painting. For the first one, we just sort of worse or direction of the branches and we got a new type of tree. And then we discussed about how you can add trees but only branches, but pseudo foliation. Okay, now let's try another one. Now this one is going to be something similar to the one we tried at the end, the last one on the practice sheet. But here I'm going to concentrate a bit onto the top. I will be adding some more dense foliage on the top. This type of tree is also really common. You would have seen this in many photographs. For this one, you need to concentrate on the foliage. We need to dig for leech on the top and also onto some branches to get a similar look to the one you see on the screen. Okay, so that is a next type. If you simply type in pine trees and Google search, you will find plenty of images. And you will find plenty of different types of pine trees which you can incorporate in your paintings. The ones I'm showing in this particular section is very few. Just look at them and try to sketch the ones which are interesting to you. Now, how could this photograph, this one is kind of similar to the one we tried. I think the fourth one gives the fourth one there. I'm going to quickly try this tree and it is going to be a little more improvised version of that food tray we tried. I'm going with a much more denser foliage. You can bet a beautiful Navajo night sky and add few trees like this, which is huge and tall. So without lifting your brush and you hand continuously adult daughter Patton, to make your tree look more denser, add them close to each other in a similar way, I'm adding Q. You can play with different shapes. You can have a more organized shape or you can have a more disorganized tree. Now and you next to photograph will be using the same technique. And we'll be just playing with the spacing. And we won't be adding those many doors close to each other, but it'll be working with the lesser density. So looking at these two photographs together, we can see on the first photograph the branches are much more longer and wider. And on the second one, then also vital as the first one. To create a similar tree, we need to use our daughter pattern technique. There we just pressed R will brush against the people and create a goose tiny talks, draw some thin branches and add these tiny dots on them. You can play with different spacing. You can also skip some branches and between our in-between, you can go with a much more denser arrangement. So please, any kind of possibilities and try and come up with different kinds of trees. Here is another photograph where we can use a similar kind of tree. You need to add a tall tree trunk and add those target patterns only on the top as a gorgeous photograph, right? Maybe you against give those houses and that mountain in the background and painted gorgeous sunsets chi and add these kind of trees. Here are some more photographs you can take the master of friends. All of this will give you an idea on how differently you can draw your branches and add the fully h. So whenever you find a pine tree, interesting, just kid to tout. Keep us small pockets, sketchbook and try and draw as many times as possible. And literature you'll find plenty of images with interesting type of pine tree. If you look at this one, there is one single tree. The whole focus is on that particular tree. You get Toyota similar painting very how one single huge tree. You can put a lot of effort on that one. Go with that tiny detailing brush and make all those details. Very minute on interesting. Alright, I'll finish off this section by drawing one last pine tree. So there are so many different ways on how you can draw a pine tree. Let us know right way nor on weight. All of them are right. You just need to focus on which works the best for you.
13. Thank you + My progress: Thanks a lot for joining my class. I hope you guys were able to follow the exercises and the class projects. And I really hope my classmate a little different to your pine trees. Now there will be at least few of you who didn't get the pine tree stride, even after trying so many times, but don't hurry. It takes quite a lot of practice to get to your pine trees, right? Maybe you were able to get a beautiful tree when you did the exercise section where we tried one single tree and maybe you wouldn't get to try it to a new data in bulk. And the class protects. This is absolutely normal. Please don't give up. Patients and Practice is the key. I'm very sure you're going to get to try it in another few more tribes. This is how I used to draw my pine tree in 2018. Pathetic, right? And pretty sure you guys are much better than this. And I used to think this way, gorgeous. It is only when I started my Instagram account and I discovered other artists. I realized how pathetic lifetime trees are. Then in a year, I improved quite a lot with regular practice. The spinner here is from 2019 and this is how I import from 2018. I was pretty proud of my pine trees backpack. But again, slowly I realized there was a lot I could improve. And here I am. In 2020. I know there's quite a lot of things I can still improve on and I will be continuing with microglia practice to make them much better. And I will be back here in 2021 showing you my progress.
Zaneena Nabeel, Top Teacher | Artist
